Niños, niñas, ahora — pero por un tiempo limitado — pueden descargar “Menea feat. Cakes Da Killa” completamente gratis. Sigan el encale que se encuentra abajo de la caratula que ven arriba, o pinchen aquí. Y compartan la canción con sus amigos:
You a DJ or producer? You like “Menea feat. Cakes Da Killa“? Then remix it! At 101 BMP, you can make a sweet cumbia, reggaeton, hip hop, or straight pop song out of the vocal studio stems — which you can download by clicking on the image above or here.
Send it over — p3culiar.info [at ] gmail dot com– when you’re done, and I’ll share it all over.
So fichera movies were basically mexploitation; a genre many men enjoyed because the films featured lots of dirty puns and boobs. Most were sexist, had terrible acting & writing, and were very low brow and low budget (just like the “Menea” video!). Some, like Bellas de Noche, where one of the main conflicts withing the plot is that a real woman is part of a nightclub’s dance troupe — and not just transvestites, the only ones considered to be “real” entertainers — is one of my favorites.
When I first started writing “Menea” — over two years ago — it had more of a cumbia thump, and the verses where supposed to be rapped by Liliana Saumet of Bomba Estéreo. I recorded Liliana’s vocals but, sadly, after transferring the session to a new computer, over half of her tracks became corrupted and unusable. I was very disappointed and ended up shelving the song for a while.
After Ulises and I agreed to work on music together, I dug up the old session and reworked “Menea” to sound more ’90s reggaeton (think El General or El Chombo) and less cumbia. That same week I went to an artsy loft party in Brooklyn where Cakes Da Killa was performing. I listened him, loved his performance, and asked him to collaborate on a “silly” song I was working on. Cakes agreed and a week later he was in my apartment rapping into a microphone in front of a blanket (I’m very DYI):
Cakes’ style — funny, irrelevant, sassy — fit the mood of song perfectly. Oddly, besides the tropical keyboard riff on the chorus, the final track became less ’90s reggaeton and more straight up pop once Uli reworked the song in his studio.
Ah, and before I forget, the single’s cover is a photo of Calamity snapped by Javier Romero: